Greek Orthodox Church
The church, which Trieste's Eastern Greek Community built between 1784 and 1787, is dedicated to the Holy Trinity and Saint Nicholas (popular name: San Nicolò). It was opened for worship on 18/2/1787 with a solemn liturgy co-celebrated by Methoni's bishop Anthimos Karakalos and the archimandrite Omeros Damasceno, to the presence of the city's governor, count Pompeo de Brigido.
Characterized by a very shabby look at the beginning, it was renovated and embellished by Arch. Matteo Pertsch (1769-1834) between 1819 and 1821, thanks to the financial contributions of Demetrio Carciotti and other rich Greek merchants. After the renovation it acquired its current aspect, with the elegant neoclassic façade and the two bell towers placed slightly backwards and with two rounded domes on top, recalling the Austrian late baroque style. The sacred building is separated from the road by a surrounding wall and wrought iron gates.
The façade presents a triangular pediment standing above six ionic pilasters, four large windows and three doors, of which the central one provides access to the temple.
The interior is lit from above and from the sides by a double row of windows and is divided into three liturgical parts: the three-apse sanctuary (presbytery), the aisle and two balconies placed on the back wall, one above for the choir and another one underneath for the gynaeceum (for women only). On the right, the icons of St. Nicholas and The Virgin and Child can be found.
The floor is made of black and white marble squares and an eight-pointed star is placed at the centre. On the sides, two rows of wooden stalls are placed (the seat backs carry the plates with the names of the Greek families who contributed to the construction and to the rich church decorations). On the right-hand side, close to the iconostasis, the bishop cathedra stands out. In front of it, on the side wall, an elegant wooden pulpit is lodged. It is decorated with golden stucco and enriched by tempera decorations on golden background boards representing the four Evangelists.
The environment is lit by three exquisite chandeliers, made by a Russian artisan, as well as by tall candle holders. The wooden iconostasis is a fine carving decoration whose structure was influenced by the empire style. Nevertheless its decorations recall the rococo style. It raises on top of three steps and, through the three doors, it gives access to the sanctuary central and side apses containing the three altars.
On the central altar, which can be accessed through the (the central) holy door, the priests celebrate the Holy Mass; whereas the side doors are reserved for the deacons. The door knockers are in golden carved wood and are decorated with oval metal panels carrying paintings about saints.
In front of the altar, the central apse hosts a large crucifix; the walls are decorated with paintings of The Virgin and Child, the four Evangelists and the saints. Representations of the Nativity and the Deposition of Christ can be found in the other two apses. Six large icons, representing St. Spyridon, St. Nicholas, The Virgin and Child, Christ the King, the Holy Trinity and John the Baptist, depicted according to the Byzantine style, can be appreciated in the lower register of the iconostasis.
On its side two large St. George and St. Catherine icons lie. 21 fine icons are aligned on the middle register of the iconostasis. They are tempera painted boards representing various scenes from the Gospel.
A large oil painting representing Christ in Glory is placed on the flat ceiling, whereas on top of the right side door the Philoxenia painting (the Hospitality of Abraham) can be seen. Some paintings which are worth a mention are, among others, Jesus among children and St. John the Baptist by Piran's artist Cesare Dell'Acqua, and under the gynaeceum balcony, the Entry Into Jerusalem and the Expulsion of the Merchants by G. Trigonis.